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Michael Andr Bernstein's passionate denunciation of apocalyptic thinking provides a moral, philosophical, and literary challenge to the way most of us make sense of our worlds. In our search for coherence, Bernstein argues, we tend to see our lives as moving toward a predetermined fate. This "foreshadowing" demeans the variety, the richness, and especially the unpredictability of everyday life. Apocalyptic history denies the openness and choice available to its actors. Bernstein chooses the Holocaust as the prime example of our tendency toward foregone conclusions. He argues eloquently against politicians and theologians who depict the Holocaust as foreordained and its victims as somehow implicated in a fate they should have been able to foresee. But his argument ranges wider. From recent biographies of Kafka to the Israeli-P.L.O. peace accords, from campus cultural diversity debates to the Crown Heights riots, Bernstein warns against our passive acceptance of historical or personal victimization. An essential contribution to Holocaust studies, this book is also a lucid call to transform the way we read and write history and the way we make sense of our lives.

Carl Goldmark, Jewish composer of Hungaro-Austrian descent, practically never in his youth received comprehensive musical training, which may be why he only at the age of 30, around the year 1860, gained public attention as a composer with his string quartet Op. 8. Foregone has a period of intense self-study of counterpoint and works by Bach and Beethoven. Two years later, Goldmarks string quintet Op. 9 premiered, though being thought of as too bold for the taste of the audience, hence it's perf

A strong-willed teacher who has foregone the life of the big city, Elizabeth Thatcher (Krakow) has made the small frontier town of Hope Valley her home with no small help from a handsome Mountie named Jack. But life on the frontier can hand you many tough turns, and so it is for Jack and Elizabeth as they face pressures put upon them by family, rivals, lawless criminals and even catastrophic natural disasters in their quest to find their place in this remote and rugged land.

When Cream broke up in 1968 it was by no means a foregone conclusion that it would be Eric Clapton who would enjoy continued commercial success. After all, it was Jack Bruce who had the looks, and who co-wrote and sang all the band's major hits. But he was a singular talent who wanted to be a pioneer, not just a pop star. His background is in classical music and jazz; at 10 he was winning classical song contests, at 12 composing string quartets and improvising on piano. Then he fell in love with Thelonious Monk and Charlie Mingus and left home at 18 to find his fortune as a jazz bass player. He found his way into the London blues scene and played with luminaries such as John Mayall and Graham Bond before first tasting chart success with Manfred Mann. Then there was Cream, one of the most influential rock bands of their time, who sold 35 million albums during their two-year existence. Cream split in their prime but their influence endured, and when they reformed in 2005 tickets were selling for nearly $3000 on e-bay. In the 40 years since Cream split Bruce has continued his musical adventures with the likes of John McLaughlin, Billy Cobham, Carla Bley and Mick Taylor, never quite achieving the success and recognition he deserves. It has been an often troubled life -- heroin addiction, management rip-offs, family tragedy, and a failed liver transplant, all of which he speaks about frankly in this book, telling a story that is sometimes funny, sometimes bleak, and always honest.

When growing up in Oak Lawn, Illinois, a suburb just south of Chicago's Midway Airport, it is almost a foregone conclusion that one would be into Led Zeppelin, The Beatles, Rush, and the like. Bassist Bob Feddersen and drummer John Sullivan were no exception. Since the seventh grade, they, along with guitarist Kurt Bonomo had played in a band that played everything from the Beach Boys to Black Sabbath - anything that would get them booked at gigs, parties, churches, weddings; the more, the merri

Two and a half centuries after the American Revolution the United States stands as one of the greatest powers on earth and the undoubted leader of the western hemisphere. This stupendous evolution was far from a foregone conclusion at independence. The conquest of the North American continent required violence, suffering, and bloodshed. It also required the creation of a national government strong enough to go to war against, and acquire territory from, its North American rivals. In A Hercules in the Cradle, Max M. Edling argues that the federal government’s abilities to tax and to borrow money, developed in the early years of the republic, were critical to the young nation’s ability to wage war and expand its territory. He traces the growth of this capacity from the time of the founding to the aftermath of the Civil War, including the funding of the War of 1812 and the Mexican War. Edling maintains that the Founding Fathers clearly understood the connection between public finance and power: a well-managed public debt was a key part of every modern state. Creating a debt would always be a delicate and contentious matter in the American context, however, and statesmen of all persuasions tried to pay down the national debt in times of peace. A Hercules in the Cradle explores the origin and evolution of American public finance and shows how the nation’s rise to great-power status in the nineteenth century rested on its ability to go into debt.

The Methuen Drama Student Edition of Twelve Angry Men is the first critical edition of Reginald Rose's play, providing the play text alongside commentary and notes geared towards student readers.In New York, 1954, a man is dead and the life of another is at stake. A 'guilty' verdict seems a foregone conclusion, but one member of the jury has the will to probe more deeply into the evidence and the courage to confront the ignorance and prejudice of some of his fellow jurors. The conflict that follows is fierce and passionate, cutting straight to the heart of the issues of civil liberties and social justice. Ideal for the student reader, the accompanying pedagogical notes include elements such as an author chronology; plot summary; suggested further reading; explanatory endnotes; and questions for further study. The introduction discusses in detail the play's origins as a 1954 American television play, Rose's re-working of the piece for the stage, and Lumet's 1957 film version, identifying textual variations between these versions and discussing later significant productions. The commentary also situates the play in relation to the genre of courtroom drama, as a milestone in the development of televised drama, and as an engagement with questions of American individualism and democracy. Together, this provides students with an edition that situates the play in its contemporary social and dramatic contexts, while encouraging reflection on its wider thematic implications.

Throughout the ages, the bath has had its alternating periods of popularity and decline. In our time, the hygienic necessity of bathing and cleanliness is a foregone conclusion. Most of us bathe regularly and pride ourselves on clean living. The problem is that many of us bathe for cleanliness only, letting the more aesthetic aspects of the bath go down the drain. It is our intention not to dwell on the obvious hygienic necessity of bathing, but instead to emphasize the delights and pleasures of the bath. Our accelerated pace of living leaves us little time for a tranquil soak in a hot tub. Moreover, bathing has become a chore; a bothersome task, squeezed in between 5:l5 and cocktails. The leisurely, relaxing bath is being abandoned in favor of the quick, invigorating shower. We would suggest a compromise wherein the bath and the shower both be utilized for their unique advantages. Just as the shower has it place in the scheme of things, so should the bath be afforded the time it so richly deserves. Or, put another way, you should afford yourself the time you so richly deserve. We hope by increasing your knowledge and awareness of the bath, to enhance your enjoyment of it. Steep your body in a steaming tub, float away tensions, drown anxieties, relax...enjoy.

In these forty brief essays, the perennially perturbed Will Cuppy turns his unflinching attention on those members of the animal kingdom whose habits are disagreeable, whose appearances are repellent, and whose continued existence is not necessarily a foregone conclusion. He is not - decidedly not - without reason. (The pike is pretty nasty as fish go, don't you agree?)And while Cuppy may frequently leave in his wake more questions than answers, we surely owe him a debt of gratitude for at least asking. After all, someone has to consider the distinctions between Stoats and Ermines, or why the Age of Reptiles simply had to come to an end. And if his take on the Giant Ground Sloth is less than flattering, who are we to quibble? And grateful we are, if only for the author's flawless observations: the carp's "falciform pharyngeal teeth;" a fish that sings through its "glenoid cavity;" M. Danois, who is "seventy- two times as smart as the average Tunny." No other writer of our ken could pinpoint the coloring of the Common Viper as "gray, greenish, yellowish brown, reddish, or black." Decorated with illustrations by the ever-delightful William Steig, this bestiary of fanciful, fretful, and ferocious creatures is sure to enlighten the naturalist in all of us, the one who never really understood why, exactly, so little is known of the Dodo s daily life, even if it s too late to ask about it now.

A Lively Compendium of Shakespeare's Wisest and Wittiest WordsFrom the doomed Othello, who first assumed a "foregone conclusion," to the impetuous Mercutio, who went off on the first "wild-goose chase," here are several hundred of the most famous lines and newly minted words from Shakespeare's canon. Each phrase is presented with background notes, explnations, and literary anecdotes that set it in its original context. With a new filmography of the finest Shakespeare movies, Brush Up Your Shakeapeare! is an accessible and entertaining guide for Bard aficionados and amateurs alike.Did You Know?The gargantuan Sir Falstaff was the first unwelcome guest to eat his hostess "out of house and home" Juliet thought that parting from her Young Romeo was "such sweet sorrow" Macbeth believed himself to be "a sorry sight" It was Rosalind who desired "too much of a good thing" Lady Macbeth realized that "what's done is done"

This book describes how the English vied with the Powhatan Indians to dominate the lands and resources in Tidewater Virginia. The author depicts the native inhabitants and the newcomers as equal actors in a drama whose outcome was not a foregone conclusion. Softbound.

Two and a half centuries after the American Revolution the United States stands as one of the greatest powers on earth and the undoubted leader of the western hemisphere. This stupendous evolution was far from a foregone conclusion at independence. The conquest of the North American continent required violence, suffering, and bloodshed. It also required the creation of a national government strong enough to go to war against, and acquire territory from, its North American rivals. In A Hercules in the Cradle, Max M. Edling argues that the federal government’s abilities to tax and to borrow money, developed in the early years of the republic, were critical to the young nation’s ability to wage war and expand its territory. He traces the growth of this capacity from the time of the founding to the aftermath of the Civil War, including the funding of the War of 1812 and the Mexican War. Edling maintains that the Founding Fathers clearly understood the connection between public finance and power: a well-managed public debt was a key part of every modern state. Creating a debt would always be a delicate and contentious matter in the American context, however, and statesmen of all persuasions tried to pay down the national debt in times of peace. A Hercules in the Cradle explores the origin and evolution of American public finance and shows how the nation’s rise to great-power status in the nineteenth century rested on its ability to go into debt.